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Auswahl der wissenschaftlichen Literatur zum Thema „Kwaito (Music) – South Africa“
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Zeitschriftenartikel zum Thema "Kwaito (Music) – South Africa"
Livermon. „“Si-ghetto Fabulous” (“We Are Ghetto Fabulous”): Kwaito Musical Performance and Consumption in Post-Apartheid South Africa“. Black Music Research Journal 34, Nr. 2 (2014): 285. http://dx.doi.org/10.5406/blacmusiresej.34.2.0285.
Der volle Inhalt der QuelleLobley, Noel. „Kwaito’s promise: music and the aesthetics of freedom in South Africa“. Ethnomusicology Forum 27, Nr. 3 (02.09.2018): 368–70. http://dx.doi.org/10.1080/17411912.2018.1543609.
Der volle Inhalt der QuelleDalamba, Lindelwa. „Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa“. Muziki 14, Nr. 2 (03.07.2017): 129–33. http://dx.doi.org/10.1080/18125980.2017.1393195.
Der volle Inhalt der QuellePerullo, Alex. „Kwaito’s promise: music and the aesthetics of freedom in South Africa“. Popular Music and Society 41, Nr. 4 (24.07.2018): 468–69. http://dx.doi.org/10.1080/03007766.2018.1492687.
Der volle Inhalt der QuellePlageman, Nate. „Kwaito’s Promise: Music and the Aesthetics of Freedom in South Africa“. Canadian Journal of African Studies / Revue canadienne des études africaines 52, Nr. 3 (30.04.2018): 382–84. http://dx.doi.org/10.1080/00083968.2018.1460238.
Der volle Inhalt der QuelleLwanga, Charles. „Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa“. Eastern African Literary and Cultural Studies 6, Nr. 1 (03.11.2019): 78–81. http://dx.doi.org/10.1080/23277408.2019.1662270.
Der volle Inhalt der QuelleLove, Jacob Wainwright. „Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa by Gavin Steingo“. Anthropological Quarterly 93, Nr. 2 (2020): 221–25. http://dx.doi.org/10.1353/anq.2020.0032.
Der volle Inhalt der QuelleWint, Suzanne. „Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa by Gavin Steingo“. Notes 75, Nr. 4 (2019): 685–87. http://dx.doi.org/10.1353/not.2019.0049.
Der volle Inhalt der QuelleGARCIA, LUIS-MANUEL. „Gavin Steingo, Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa (Chicago: University of Chicago Press, 2016), ISBN 978-0-226-36240-3 (hb), ISBN 978-0-226-36254-0 (pb).“ Twentieth-Century Music 15, Nr. 2 (Juni 2018): 309–16. http://dx.doi.org/10.1017/s147857221800018x.
Der volle Inhalt der QuelleOgle, Lizzie. „Steingo, Gavin. Kwaito's promise: music and the aesthetics of freedom in South Africa. xx, 307 pp., maps, illus., bibliogr. Chicago: Univ. Press, 2016. £22.50 (paper)“. Journal of the Royal Anthropological Institute 25, Nr. 1 (03.02.2019): 175–76. http://dx.doi.org/10.1111/1467-9655.12973.
Der volle Inhalt der QuelleDissertationen zum Thema "Kwaito (Music) – South Africa"
Bosch, Tanja Estella. „Radio, community, and identity in South Africa a rhizomatic study of Bush Radio in Cape Town /“. Connect to this title online, 2003. http://www.ohiolink.edu/etd/view.cgi?ohiou1079300111.
Der volle Inhalt der QuelleDonne, Raffaella Delle. „Mapping the beat, beating the map : the religious work of Hip Hop, Reggae and Kwaito in South Africa“. Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/8608.
Der volle Inhalt der QuelleIn a post-apartheid, recently democratised South Africa African identity is constantly being negotiated within the media, the political sphere, and a variety of cultural expressions. Firstly, I explore the ways in which the popular musical forms of Hip Hop, Kwaito and Reggae in South Africa are contributing to the forging of a global African identity which challenges Eurocentric conceptions but also inserts an implicit response into recent debates about the limitations of an essentialist, Afrocentric paradigm. Secondly, I argue that the construction of this identity can be located within an interpretative framework that examines how popular music is engaged in a kind of religious work. Historically, musical expressions emerging out of the diaspora as well as from the continent have been media for retaining and reformulating African religion and culture under conditions of extreme social upheaval. Scholars such as Jon Michael Spencer have argued that the religious aspect of black music is informed by the need to be liberated from an oppressed mentality and therefore liberation needs to be regarded as a religious activity, an alternative spirituality which challenges existing socio-political values. Musical expressions such as Hip Hop, Reggae and Kwaito can be understood as creative transpositions of indigenous African religion within the context of a worldview informed by the supernatural power of the spoken word, the production of a sacred sonic space, and the advancement of what Hip Hop scholar Nelson has referred to as a "combative spirituality."
Bosch, Tanja. „Radio, community and identity in South Africa: A rhizomatic study of Bush Radio in Cape Town“. Ohio University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1079300111.
Der volle Inhalt der QuelleSteltzner, Becky L. „The history of the clarinet in South Africa“. Doctoral thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20332.
Der volle Inhalt der QuelleHolden, Carolyn. „Flamenco in South Africa: outsider in two places“. Master's thesis, University of Cape Town, 2012. http://hdl.handle.net/11427/11440.
Der volle Inhalt der QuelleIncludes bibliographical references.
This dissertation interrogates the notion of flamenco identity in order to establish a case for the existence of a legitimate flamenco identity outside of Spain, and specifically in South Africa. Verification of the existence of a legitimate flamenco sub-culture in South Africa would add gravitas to the practise of flamenco by South Africans (as well as other outsiders across the globe), helping to shift the unspoken parameters governing who has the right to teach and perform flamenco, and which criteria might be used to decide this.
Beer, Luzaan. „Music education in the foundation phase“. Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1020302.
Der volle Inhalt der QuelleFourie, Lise. „Music Therapy in Tshwane, South Africa : music therapists’ experiences and other professionals’ perceptions“. Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/36759.
Der volle Inhalt der QuelleMini Dissertation (MMus)--University of Pretoria, 2009.
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De, Jongh Martha Susanna. „A national electronic database of special music collections in South Africa“. Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2370.
Der volle Inhalt der QuelleIn the absence of a state-sponsored South African archive that focuses on collecting, ordering, cataloguing and preserving special music collections for research, the Documentation Centre for Music (DOMUS) was established in 2005 as a research project at the University of Stellenbosch. Music research in South Africa is often impeded by inaccessibility of materials, staff shortages at archives and libraries, financial constraints and time-consuming ordering and cataloguing processes. Additionally there is, locally, restricted knowledge of the existence, location and status of relevant primary sources. Accessibility clearly depends on knowing of the existence of materials, as well as the extent to which collections have been ordered and catalogued. An overview of repositories such as the Nasionale Afrikaanse Letterkundige Museum and Navorsingsentrum (NALN), the now defunct National Documentation Centre for Music and the International Library of African Music (ILAM) paints a troubling picture of archival neglect and disintegration. Apart from ILAM, which has a very specific collecting and research focus, this trend was one that ostensibly started in the 1980s and is still continuing. It could be ascribed to a lack of planning and forward thinking under the previous political dispensation, aggravated by policies of transformation and restructuring in the current one. Existing sources supporting research on primary materials are dated and not discipline-specific. Thus this study aims to address issues of inaccessibility of primary music materials by creating a comprehensive and ongoing national electronic database of special music collections in South Africa. It is hoped that this will help to alert researchers to the existence and status of special music collections housed at various levels of South African academic and civil society.
Nkabinde, Thulasizwe. „Indigenous features inherent in African popular music of South Africa“. Thesis, University of Zululand, 1997. http://hdl.handle.net/10530/910.
Der volle Inhalt der QuelleThe central aim of this study is to identify those features in the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens that derive from Indigenous African music and show how they have been transformed to become part of popular idioms. All black South African popular music idioms are heavily reliant upon indigenous sources, not only from the compositional, but from the performing and interactive community points of view. In the case of the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens, the influence of Zulu culture is particularly strong, although features of others traditions represented in Black urban society are also perceptible. The reasons for the Zulu orientation of the groups lie in the predominantly Zulu make up, as well as the large number of Zulus that make up black South African urban population. Of course, such Indigenous features as can be observed in their music have not necessarily been transferred directly from their original sources: the process of acculturation of the dominant characteristics of tribal rural musical practices with appropriate Western popular idioms began early on in this century, resulting in such representative urban forms as Marabi, Khwela and Mbube. More sophisticated forms and modes of expression have incorporated, and been based on these early manifestations, resulting in hybridised musical genres that reflect the broad and diverse base of African popular music in South Africa today. Ladymith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens count among the pioneers of the Mbube, Mbaqanga and the urban popular styles. It is through the medium of Mbube and Mbaqanga that Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotella Queens have established their popular base initially in the townships, then through the record industry, and, latterly, in the spread of shebeen culture into affluent white- dominated venues such as the Get-Ahead shebeen in Rosebank. Johannesburg. Through the music of the group it is possible to examine the development of a particular style traditional/popular acculturation as well as the social and political themes that have found their way into the black popular music of the 1980s and 1990s. This research will thus serve as an analytical guide to the music of Ladysmith Black Mambazo, Yvonne Chaka Chaka, Mahlathini and the Mahotell Queens, particularly regarding the issue of acculturation, it will also serve as a case study in the composer-performer-listener chain which underpins any sociologically-orientated investigation into popular culture and it will be argued that the artefacts of popular culture can only be investigated in this way.
Muller, Stephanus Jacobus van Zyl. „Sounding margins : musical representations of white South Africa“. Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326962.
Der volle Inhalt der QuelleBücher zum Thema "Kwaito (Music) – South Africa"
Muller, Carol Ann. Focus: Music of South Africa. 2. Aufl. New York: Routledge, 2008.
Den vollen Inhalt der Quelle findenHugo, Elsbeth. Effective music education in South Africa. Pretoria: Human Sciences Research Council, 1993.
Den vollen Inhalt der Quelle findenFocus on music of South Africa. 2. Aufl. New York: Routledge, 2008.
Den vollen Inhalt der Quelle findenHauptfleisch, Sarita. Effective music education in South Africa. Pretoria: Human Sciences Research Council, 1993.
Den vollen Inhalt der Quelle findenChilvers, Garth. History of contemporary music of South Africa. Braamfontein, South Africa: Toga Pub., 1994.
Den vollen Inhalt der Quelle findenAIDS, politics, and music in South Africa. New York: Cambridge University Press, 2011.
Den vollen Inhalt der Quelle findenAfro-American music, South Africa, and apartheid. Brooklyn, N.Y: Institute for Studies in American Music, Conservatory of Music, Brooklyn College of the City University of New York, 1988.
Den vollen Inhalt der Quelle findenS, Levy Michael. Music in South Africa: SAMRO information leaflet. Johannesburg, South Africa: Southern African Music Rights Organisation, 1995.
Den vollen Inhalt der Quelle finden(Firm), Drumcafé, Hrsg. The Drumcafé's traditional music of South Africa. Johannesburg, South Africa: Jacana, 2005.
Den vollen Inhalt der Quelle findenDare, Valerie. Music of South Africa: Rhythms of resistance. Vancouver, BC: Britannia World Music Program, 1996.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Kwaito (Music) – South Africa"
Pietilä, Tuulikki. „Play and Irony in the Kwaito Music of Postapartheid South Africa“. In The Routledge Companion to Popular Music and Humor, 124–31. New York; London: Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351266642-18.
Der volle Inhalt der QuelleMiller, Terry E., und Andrew Shahriari. „Sub-Saharan Africa: Ghana, Nigeria, Central Africa, Zimbabwe, Uganda, Senegal, South Africa“. In World Music, 299–340. Fifth edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780367823498-10.
Der volle Inhalt der QuelleMazzola, Guerino, Jason Noer, Yan Pang, Shuhui Yao, Jay Afrisando, Christopher Rochester und William Neace. „The Role of Music in the Diversifying Cultures (Africa, East Asia, South Asia)“. In The Future of Music, 183–86. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39709-8_20.
Der volle Inhalt der QuelleNamusanya, Dave Mankhokwe. „Popular Culture and Representations of Addiction: Understanding Malawi Urban Music in the Narratives of Drugs and Sex“. In Addiction in South and East Africa, 125–41. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13593-5_8.
Der volle Inhalt der QuelleOkigbo, Austin C. „Music and the Politics of Culture in a South African Zulu HIV/AIDS Experience: Implications for “Post-Apartheid” Discourse“. In Contemporary Africa, 175–90. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137444134_8.
Der volle Inhalt der QuelleSmurthwaite, Michael, und Lyton Ncube. „Networked audiences and the politics of participation in commercial music radio in South Africa“. In Radio, Public Life and Citizen Deliberation in South Africa, 217–32. Abingdon, Oxon ; New York, NY : Routledge, 2021. | Series: Routledge contemporary South Africa: Routledge, 2021. http://dx.doi.org/10.4324/9781003027744-16.
Der volle Inhalt der QuelleOdendaal, Albi. „Structure and Fragmentation: The Current Tensions and Possible Transformation of Intercultural Music Teacher Education in South Africa“. In Visions for Intercultural Music Teacher Education, 149–61. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-21029-8_10.
Der volle Inhalt der QuelleDonaldson, Ronnie, und Henry Duckitt. „Geographies and branding impacts of non-metropolitan music festivals in the Western Cape province of South Africa“. In Urban Events, Place Branding and Promotion, 141–61. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Routledge contemporary perspectives on urban growth: Routledge, 2019. http://dx.doi.org/10.4324/9780429424847-8.
Der volle Inhalt der QuelleSteingo, Gavin. „Electronic Music and the Problem of Electricity“. In Audible Infrastructures, 253–73. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190932633.003.0012.
Der volle Inhalt der QuelleSteingo, Gavin. „Kwaito and the Culture of AIDS in South Africa“. In The Culture of AIDS in Africa, 343–61. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:osobl/9780199744473.003.0029.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Kwaito (Music) – South Africa"
Dalamba, Lindelwa. „Popular music, folk music, African music: King Kong in South Africa and London“. In Situating Popular Musics, herausgegeben von Ed Montano und Carlo Nardi. International Association for the Study of Popular Music, 2012. http://dx.doi.org/10.5429/2225-0301.2011.13.
Der volle Inhalt der QuelleAjoodha, Ritesh, Richard Klein und Benjamin Rosman. „Single-labelled music genre classification using content-based features“. In 2015 Pattern Recognition Association of South Africa and Robotics and Mechatronics International Conference (PRASA-RobMech). IEEE, 2015. http://dx.doi.org/10.1109/robomech.2015.7359500.
Der volle Inhalt der QuelleMarsden, Marc, und Ritesh Ajoodha. „Algorithmic Music Composition Using Probabilistic Graphical Models and Artificial Neural Networks“. In 2021 Southern African Universities Power Engineering Conference/Robotics and Mechatronics/Pattern Recognition Association of South Africa (SAUPEC/RobMech/PRASA). IEEE, 2021. http://dx.doi.org/10.1109/saupec/robmech/prasa52254.2021.9377235.
Der volle Inhalt der QuelleHaupert, Mary Ellen. „CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION“. In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.
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